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​1 Introduction: Thinking-Feeling Our Way&nbsp;<div>Mireia Aragay, Cristina Delgado-García and Martin Middeke</div><div>Part I Affects and Cognition: Thought, Intention, Empathy</div><div>2 Feel and Think, Think and Feel: Complicating Empathy&nbsp;in debbie tucker green’s hang&nbsp;</div><div>Mireia Aragay</div>3 Moving Parts: Emotion, Intention and Ambivalent&nbsp;Attachments&nbsp;</div><div>Clare Wallace</div><div>4 Love and the Intentionality of Affect in Lucy Prebble’sThe Effect and debbie tucker green’s a profoundly&nbsp;affectionate, passionate devotion to someone (-noun)</div><div>Korbinian Stöckl</div><div>5 Political Dramaturgies of Affect: Anthony Neilson’s God&nbsp;in Ruins and The Wonderful World of Dissocia&nbsp;</div><div>Liz Tomlin</div><div>Part II Affects and Politics: Identities, Institutions, Ideology&nbsp;</div><div>6 Black Lives, Black Words at the Bush Theatre: Art, Anger,&nbsp;Affect and Activism</div><div>Lynette Goddard</div><div>7 “Feeling Feminism”: Politics of Mischief in&nbsp;Contemporary Women’s Theatre</div><div>Marissia Fragkou</div><div>8 Contemporary British Theatre, Democracy and Affect:</div><div>States of Feeling</div><div>Cristina Delgado-García</div><div>9 Affect and the Politics of Abstraction in British New&nbsp;Writing</div><div>Philip Watkinson</div><div>Part III Affects and Hope: From Crisis to Utopian Feelings&nbsp;</div><div>10 Vibrant Materials: Affective Arrangements, the Allure of&nbsp;Glamour and Architexture(s) in Penelope Skinner’s</div><div>Eigengrau and Mike Bartlett’s Game</div><div>Martin Middeke</div><div>11 Entanglements: Transaction and Intra-action with the&nbsp;Devil in How to Hold Your Breath</div><div>Julia Boll</div><div>12 Theatre at the End of the World</div><div>Mark Robson</div><div>13 Affects and the Development of Political Subjectivity:&nbsp;From Resilience to Agency in Kae Tempest’s Wasted</div><div>Clara Escoda</div>

<p>Mireia Aragay is Professor of English Literature, Drama and Theatre at the University of Barcelona and Principal Investigator of the Contemporary British Theatre Barcelona research group.</p><p>Cristina Delgado-García is Lecturer in Theatre and Performance at the University of Glasgow.</p><p> </p><p>Martin Middeke holds the Chair of English Literature at the University of Augsburg, and is Visiting Professor of English at the University of Johannesburg.&nbsp;</p><br>

<p>This book explores the various manifestations of affects in British theatre of the 21st century. The introduction gives a concise survey of existing and emerging theoretical and research trends and argues in favour of a capacious understanding of affects that mediates between more autonomous and more social approaches. The twelve chapters in the collection investigate major works in Britain by playwrights and theatre makers including Mojisola Adebayo, Mike Bartlett, Alice Birch, Caryl Churchill, Tim Crouch and Andy Smith, Rachel De-lahay, Reginald Edmund, James Fritz, David Greig, Idris Goodwin, Zinnie Harris, Kieran Hurley, Lucy Kirkwood, Anders Lustgarten, Yolanda Mercy, Anthony Neilson, Lucy Prebble, Sh!t Theatre, Penelope Skinner, Stef Smith, Kae Tempest and debbie tucker green. The interpretations identify significant areas of tension as they relate affects to the fields of cognition, politics and hope. In this, the chapters uncover interrelations of thought, intention and empathy; they reveal the nexus between identities, institutions and ideology; and, finally, they explore how theatre can accomplish the transition from a sense of crisis to utopian visions.</p>

<p>Brings new theorisations of affect(s) to a wide range of contemporary performance</p><p>Engages with a broad scope of recent scholarship in the field of affect studies</p><p>Considers the potential for the lens of affect to interfere with categories and boundaries present in current theatre scholarship</p>